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Greek art evolved through the Geometric (c. 900–700 BCE), Orientalizing (c. 700–600 BCE), Archaic (c. 600–480 BCE), and Classical (c. 480–323 BCE) periods. Initially, artists created works that were abstract and featured repetitive geometric shapes and stick figures, and influence from cultures the Greeks traded with was apparent. Over time, sculptures became less rigid and more realistic. As evidenced by the Archaic smile, emotion, movement, and humanism were introduced in the later periods.
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Etruscan art explored human experience, religion, and social identity. Artists emphasized lively expression, funerary rituals, and religious symbolism. Belief in an active, joyful afterlife was reflected in decorated tombs, from which a large portion of Etruscan art originates. Etruscan artwork emphasized individuality over idealized perfection. The art was primarily made from terracotta and bronze. Etruscans were skilled potters who created fine, black bucchero ware.
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Large vases serving as grave markers were first introduced during the Geometric period. This vase depicts a scene of a deceased man lying horizontally, surrounded by members of his household and mourners. It was found in Athens, in the area known as "the city of clay," and was used to mix and carry wine and water.
Ancient Greek, Dipylon Krater, c. 750-735 BCE, MET Museum, https://www.metmuseum.org/art/collection/search/248904 -
Unlike standard fibulae that fastened garments, this piece is believed to have served as a grave offering. The techniques used to create it—granulation, filigree, and repoussé—all originated in the East. The iconography, including five lions and the Egyptian goddess Hathor, reinforces themes of royalty and elitism.
Etruscan, The Parade Fibula Regolini-Galassi Tomb, c. 675-650 BCE, Gregorian Etruscan Museum of the Vatican Museums, https://smarthistory.org/regolini-galassi-tomb-and-parade-fibula/ -
This rigid stance, with the left leg forward and arms at the sides, was derived from Egyptian art. Scholars believe the statue’s stiff and formal style was likely inspired by Egyptian prototypes. The statue marked the grave of a young Athenian aristocrat. Unlike other kouroi, the New York Kouros is not entirely nude. He wears a choker-style necklace and a fillet in his hair.
Ancient Greek, New York Kouros, c. 590-580 BCE, MET Museum of Art, https://www.metmuseum.org/art/collection/search/253370 -
This sarcophagus reflects Etruscan beliefs about the afterlife as a continuation of earthly life. The use of hieratic scale emphasizes the concept of a more equal partnership between men and women than is seen in earlier art. It would have contained cremated remains, highlighting the importance of funerary custom within the community of the living.
Etruscan, Sarcophagus of the Spouses, c. 520 BCE, Museo Nazionale di Villa Giulia, Rome, https://smarthistory.org/sarcophagus-of-the-spouses-rome/ -
The subject of the pediment is the Trojan War, the conflict between the Trojans and the Greeks. Athena stands at the center of the low triangle, depicted in a frontal and rigid pose. On either side are reclining figures with weapons, and in the corners lies a fallen warrior characterized by the Archaic smile.
Greek, West Pediment from the Temple of Aphaia at Aegina, c.495-490 BCE, Glyptothek, Munich, https://www.ancientworldmagazine.com/articles/troy-keeps-fallin-temple-aphaia-aegina/ -
This statue was buried across a sacred site during the restoration of the Acropolis in Athens. The Kritios Boy is idealized and lacks individualistic features. Unlike works from the Archaic period, it conveys a sense of movement and liveliness. He stands in a contrapposto pose, shifting his weight onto one leg and giving the impression that he is about to take a step forward.
Ancient Greek, Kritios, Kritios Boy, c. 480-470 BCE, Acropolis Museum, Athens, https://smarthistory.org/kritios-boy/ -
Chariot races were common athletic competitions in Ancient Greece, honoring and making dedications to the god Apollo. The figure originally included a team of horses and a groom and commemorated a victory. His body is turned and conveys the beginnings of naturalism. Unlike kouros figures, he is not strictly frontal. This figure served as a kind of public trophy.
Ancient Greek, Charioteer of Delphi, c. 478-474 BCE, Delphi Archaeological Museum, https://www.portesmagazine.com/charioteer-delphi -
In Ancient Greece, the male body represented the ideal standard of beauty. The figure was sculpted by Polykleitos, who wrote a book on the ideal canon of proportions, a 1:7 ratio (head to total body height). He stands in a contrapposto pose.
Ancient Greek, Polykleitos, Doryphoros (Spear-Bearer), c. 450–440 BCE, National Archaeological Museum, Naples, Italy, https://www.khanacademy.org/humanities/ap-art-history/ancient-mediterranean-ap/greece-etruria-rome/a/polykleitos-doryphoros-spear-bearer -
Considered the embodiment of optimism and confidence following the defeat of the Persians, the sculptures originally decorated the temple’s pediments. Poseidon, Athena, Dionysus, and other gods are depicted wearing drapery revealing the form of their bodies. Phidias designed the sculptures to convey strength and emphasize the power of the gods.
Ancient Greek, Phidias, Parthenon sculptures, 438-432 BCE, British Museum, https://www.britishmuseum.org/blog/introduction-parthenon-and-its-sculptures -
Praxiteles’ sculpture is known to be the very first example of a full-scale, fully nude woman. The figure stands in a pudica pose; although nude, Venus modestly covers herself with one hand. This figure is much more sexualized than kouros from the Archaic Period that were considered dignified.
Ancient Greek, Praxiteles, Capitoline Venus (copy of the Aphrodite of Knidos), c. 350-340 BCE, Capitoline Museums, Rome, https://smarthistory.org/capitoline-venus-copy-of-the-aphrodite-of-knidos/ -
This sculpture shows an athlete scraping oil from his body, a common bathing ritual in Ancient Greece. It is an ancient Roman copy of a Greek original by Lysippos, who changed the canon of proportions to a 1:8 ratio. The Scraper appears more elongated, with a smaller head. He represents a nude, athletic, idealized human body.
Ancient Greek, Lysippos, Apoxyomenos (Scraper), Greek original 330 BCE, Romany copy c. 50 CE, Vatican Museums, Italy, https://smarthistory.org/lysippos-apoxyomenos-scraper/ -
Seen as the period in which Greek culture reached the peak of its geographic influence, Hellenistic art pushed the boundaries of naturalism. This period saw great progression in the arts, sciences, and exploration. Artwork from this period is dynamic, theatrical, emotionally expressive, and intricate. Unseen in earlier periods, humanism was introduced. For the first time, artists depicted the poor in unidealized styles, and political opponents were given honor.
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Made up of approximately 1.5 million tesserae (small, cubed pieces of cut stone or glass), this mosaic covered the floor of the House of the Faun in Pompeii. Alexander the Great is depicted confidently charging forward on horseback. His peaceful, balanced portrayal contrasts with the fearful and desperate figures on the right-hand side.
Greek, Alexander Mosaic, c. 100 BCE, Archaeological Museum, Naples, https://smarthistory.org/alexander-mosaic-from-the-house-of-the-faun-pompeii/ -
The Seated Boxer depicts a defeated athlete. The bronze medium allowed for extreme detail. The boxer wears a weary expression and shows bloody wounds, scars, and cauliflower ears. Unlike idealized figures, his head is bowed, his posture is collapsing, and he appears exhausted. This sculpture signifies a period in Greek art that explores humility and humanity.
Ancient Greek, Apollonius, Boxer at Rest, c. 100 BCE, Museo Nazionale Romano, Rome, https://www.metmuseum.org/perspectives/the-boxer